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Word: chopines (lookup in dictionary) (lookup stats)
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...answers to these questions are: 1) Sibelius, 2) Gershwin, 3) Shostakovich, 4) Schumann, 5) Rachmaninoff and, for the cut, Chopin. The answer to our offering of TIME for Music is that department stores in all 31 cities have accepted it and are displaying, or planning to display, it to coincide with the opening of their local symphony orchestra's season...

Author: /time Magazine | Title: A Letter From The Publisher, Nov. 3, 1947 | 11/3/1947 | See Source »

...like to write a chapter in my book about you -a book called You've Got to Die Before You Write Popular Songs." At first Stravinsky didn't get it. Then Levy reminded him of what Tin Pan Alley grave robbers had done to Tchaikovsky and Chopin. Why shouldn't Stravinsky steal from his own Firebird...

Author: /time Magazine | Title: Music: Stravinsky in Tin Pan Alley | 11/3/1947 | See Source »

...pulp surrounding it. At certain points, "Song of Love" reveals immense potentialities for the development of screen musical biographics in terms of a blind audience. This is a step forward. Forgetting the Kern and Porter films, one may look with encouragement at the progress made from the lives of chopin, Schubert, and Gershwin to that of Schumann. Auditory progress, to be sure, but still progress...

Author: NO WRITER ATTRIBUTED | Title: The Moviegoer | 10/22/1947 | See Source »

...fact, the musical sound track of "Song of Love" is almost an undiluted pleasure. The Schubert fiasco was built about one piece, Gershwin's music was abominably played, and Chopin's was doled out in little snippets mostly transcribed for orchestra, but in "Song of Love" Metro has avoided all of these faults. The music is played well, if without much verve, by Artur Rubinstein, and there is lots of it. The film opens with a huge chunk of Loszt's E flat concerto, and later developments weave in all of Brahms' splendid G minor rhapsody, parts of his first...

Author: NO WRITER ATTRIBUTED | Title: The Moviegoer | 10/22/1947 | See Source »

Victor commendably began to provide Rubinstein performances of Chopin, but, so far, the emphasis has been on multi-volume sets of lesser works, (mazurkas and nocturnes), while the great ballades and etudes, for example, have been left in the cold. Columbia, meanwhile, surrendered most of what little Chopin it decided to record to the mercy of Mr. Kilenyi. The massacre of the etudes is typical of the result. Not that there aren't any good interpreters of Chopin. What few records were made by the late greats Friedman and Rosenthal have not been reissued; Brailowsky has made few records...

Author: By Otto A. Friedrich, | Title: The Music Box | 10/21/1947 | See Source »

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